【作者】 吴庆晏；

【导师】 赵山林；

【作者基本信息】 华东师范大学 ， 中国古代文学， 2010， 博士

【摘要】 孟称舜是明末清初重要的戏曲作家、戏曲理论家和刊刻家,在戏曲创作、戏曲理论和杂剧评选等诸多领域均有建树,在明清戏曲史上有着不可忽视的地位,对其作出深入研究很有意义。论文绪论部分交代写作缘起,梳理研究现状,讨论研究思路和研究意义。正文部分由七章组成:第一章,孟称舜生平思想。孟称舜文名早负,青年时期积极参加复社、枫社等社会团体,有着传统士人的入世心态。科场困顿的现实促使其寄情词曲,表现出不同时俗的愤世心态。明清易代的历史巨变,“遁于广文”的现实选择,表明他秉持遁世心态。后又毅然离职返乡,显示其晚年心灵挣扎的矛盾心态。本章对争议颇多的孟称舜籍贯问题进行考证,论证其籍贯为会稽而非山阴。笔者还对孟称舜佚作进行了发掘,计得诗三首、序文二篇、传记一篇,并进行了考论,丰富了对其创作成就的认识。第二章,孟称舜交游考述。一是梳理孟称舜与祁彪佳、陈洪绶、倪元璐、马权奇等越中乡贤的交游,二是梳理孟称舜与杭州友人如卓人月、南京友人如邢防的交游。这些交游对孟称舜的思想和创作极有关系。第三章,孟称舜戏曲理论。主要包含发曲传情论、戏曲语言论和艺术风格论。传情理论是孟称舜戏曲理论的核心内容。孟称舜注重挖掘“情”在戏曲艺术中的作用,继承和发扬戏曲艺术的言情特点,同时在情、理关系的处理上显示出不同时俗的理论追求,赋予了传情理论新内涵。本色当行论是孟称舜戏曲语言论的主要内容,孟称舜笔下的人物语言,明显体现出对本色语言的青睐,对当行曲风的追求。诗词曲艺术风格论是其编选《古今名剧合选》的理论支撑,孟称舜提出“婉丽”和“雄爽”两种风格类型,并批判了片面的风格优劣论,对扭转片面的地域风格论、曲体优劣论等不良理论倾向具有重要意义。第四章,孟称舜戏曲创作考。剧目归属考对归于孟称舜名下的剧目归属问题作出考证,剧作源流考对孟称舜现存剧作源流进行梳理,《贞文记》创作时间考则依据孟称舜刊刻的《兰雪集》对颇有争议的《贞文记》创作时间问题进行考辨,并考证出《贞文记》创作、刊刻于入清后的结论。第五章,孟称舜杂剧创作论。第一节综论其杂剧,第二节讨论其文人传说剧,第三节讨论其历史故事剧和社会问题剧。孟称舜杂剧创作具有同时代的南杂剧创作特征,但其“趋元”倾向更加明显,复归元杂剧传统的理论倾向和创作实践在南杂剧风行的时代背景下显得尤为突出。其文人传说剧不同于一般的爱情戏,均表现出文人的喜怒哀乐和人生旨趣,与同类题材作品相比能自出机杼。其历史故事剧具有时事剧特征,反映其独特历史英雄观。社会问题剧最大特点在于摆脱了文人杂剧多用于文人寄寓和抒怀的特点,纯粹演述惊心动魄的民间故事,从而重现了杂剧用于演故事的原始用意,为杂剧摆脱案头化、回归场上做出了贡献。第六章,孟称舜传奇创作论。第一节探讨孟称舜传奇创作中的情理观,第二节分析《二胥记》和《贞文记》二剧思想,第三节对《娇红记》进行研究。孟称舜传奇创作既具“传情”本质,其所传之情又独具内涵,“理”的特征更趋明显,情、理关系更趋复杂,情理观念更具时代色彩。英雄传奇《二胥记》为场面恢宏的历史剧,其“苍凉雄壮”的悲剧风格赢得世人瞩目,其深沉的情感寄寓和对家国之变的历史思索,对解读明清易代之际士人历史观和时事观具有重要价值。《贞文记》尽管具有神仙道化色彩,但通过传奇强调殉情和殉节,阐释情幻观念,隐喻时代巨变,寄托民族思想,其复杂的思想意义值得揭示。《娇红记》一节对《娇红记》研究现状进行综述,对申纯人物形象进行分析,对作品所采用的主、副相承的双线结构模式进行了剖析。第七章,《古今名剧合选》研究。对选集的整体内容和文献价值予以揭示,并提出其评点特色表现为以元为尊的评剧观念、以本色当行为尚的剧作思想和多方面比较的评点方法,而其校勘特征则表现为悉心校改,校、评一体。余论部分对孟称舜诗词文等方面成就予以探讨,同时探讨了孟称舜曲学成就和影响。更多还原

【Abstract】 Meng Chengshun, a playwright, drama theorist and carving publisher during the transfer period of Ming dynasty and Qing dynasty, is well established in drama writing, drama theory, and selecting and commentating Zaju. He enjoys important role in the drama history of Ming and Qing dynasties, so the research about him bears significance too.The introduction is about the rationale, the status quo of the research on Meng Chengshun, the methodology applied in the current research, and the hypothesis.The body part consists of seven sections.Section 1 is about the life stories of Meng Chengshun. Born into a well-educated family, Meng Chengshun enjoyed literature prestige since his early years. In his youth, he participated in the social organizations, which indicated Meng’s intension to participate social activities. However, frustrated by the imperial examinations, Meng turned to the composition of drama and poetry to relieve his cynicism. Later on, the dramatic change from Ming dynasty to Qing dynasty occurred, and Meng Chengshun in Qing dynasty lived a life of recluse. He retired himself from the humble work of a county teacher in Songyang and returned to his hometown. Meng Chengshun in the later years experienced a sort of mental wrestle. Besides, the current section tackles the topic of Meng’s origin, and concludes that Meng was born in Kuaiji, instead of Shanyin. Finally, there are still many papers, which include three poems, two prefaces, and one biography, written by Meng Chengshun which haven’t been put under his name, and this sections sorts them out and gives a brief introduction to them too.Section 2 is the textual research of Meng’s social activities. It is made up of two subsections, with the first about Meng’s association with gentlemen in Yue-Shaoxing and places around, such as Qi Biaojia, Chen Hongshou, Ni Yuanlu, Ma Quanqi, etc., and the second about Meng’s association with such friends as Zhuo Renyue in Hangzhou, and Xingfang in Nanjing. Meng’s social activities with these gentlemen played a significant role in his writing career.Section 3 is a study on Meng’s drama theory. This section focuses on his theories of romance in drama, drama language, and drama style. The central theme of Meng’s theory is that of romance in drama. On the relationship between romance and reason, Meng Chengshun displayed a different theoretic pursuit from others, and added a new interpretation to the romance drama theory. The main content of Meng’s drama language theory is naturalism. In both the characters and the way to present them, Meng Chengshun showed his favour in naturalistic language, and naturalistic style. Meng Chengshun’s style theory was reflected in Drama Anthology of Ancient and Contemporary Times he finished compiling in 1633. In this book, Meng Chenshun elaborated on two styles with the name of "Wanli" (delicate) and "Xiongshuang" (heroic abandon), and criticized the idea of "inferiority and superiority of styles", which was of great importance in the check of unhealthy tendency in such theories as "regional styles" and "style of inferiority or superiority".Section 4 is a study on Meng Chengshun’s drama writing. Firstly, this section includes a research on the drama put under Meng Chengshun’s name. Secondly, this section also starts the clarification of the diverse sources of Meng Chengshun’s drama composition. Thirdly, this section, based itself on the clues from Lan Xueji published by Meng, includes a research on the composing time of Zhen Wenji, and concludes that this Chuanqi was composed of and published in Qing dynasty.Section 5 is on Meng’s composition of Zaju. The first subsection is on the writing style of Meng’s Zaju, the second on his drama based on scholars’ stories, and the third on his historical drama and social drama. Though not freeing himself from the popular drama writing style of that time, Meng Chengshun distinguished himself by his "preference for Yuan Zaju" in that his Zaju displayed the features of those from Yuan dynasty. His scholar-story-based drama presented the scholars’ joy, anger, grief and pleasure, and thus differed from other romance drama of his time. Meng’s historical drama was a reflection of the social issues at his time, and expressed his personal view on historical hero. His social drama was featured with freedom from the tradition of writing about scholars’ experiences and emotions. As a narration of breath-taking folk stories, Meng’s social drama represented the original function of drama as performing out stories.Section 6 is on Meng Chengshun’s composition of Chuanqi, with the first subsection on Meng’s view of romance and reason, the second on the theses in Er Xuji and Zhen Wenji, and the third on Jiao Hongji. The Chuanqi composed by Meng Chengshun featured not only the essence of romance, but also touched upon reason, which indicated an increasingly complex relationship between these two, and the popular belief of Meng’s time. The heroic Chuanqi Er Xuji was a historical drama displayed on a grand scale, whose tragic style caught widespread attention, and whose emotion-revealing and historical-meditating style was of great value to know more about the scholars living at Meng’s time. Though bearing a metaphysical touch, by attaching importance to martyrdom, Zhen Wenji met aphorized the dramatic change of that time, and functioned as a spiritual national sustenance. Finally, this sections includes a research status quo of Jiao Hongji, analyses the character of Shen Chun, and parsed the double-clue style of this story.Section 7 is a study about the Drama Anthology of Ancient and Contemporary Times. The summarizing part elaborates on the content of this anthology as a whole, and its documentary value. Besides, Meng’s commentary on Zaju was featured with a respect for Yuan tradition, a favour for naturalism in composition, and a comparison from diverse perspectives, and the Drama Anthology of Ancient and Contemporary Times embodied his careful proof-reading integrated with commentating.The conclusion part summarizes Meng Chengshun’s influence on Shi, Ci, and Wen, and concludes his status in drama theory and history.更多还原